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Archived from the original on January 6, Retrieved February 11, Street Player: My Chicago Story. ISBN New York City: Columbia Records. Retrieved January 29, Watson-Guptill Publications. Retrieved February 11, — via Google books. The performance is taken from a TV appearance by the band in Chicago was being attacked for these perceived indiscretions mercilessly as were the giants of the biz as diverse as Led Zeppelin and former members of The Beatles.
This album is also significant in that it marks the emergence of trombonist James Pankow as a composer of shorter, more accessible tunes. In the past he'd contributed and arranged several of the multi-layered, involved epics that characterized their early offerings but here, with the love song "Just You 'n' Me," he showed he was cultivating a knack for penning radio-friendly fare that would eventually change the band's image for better or worse depending on one's point of view. This romantic number takes advantage of bassist Peter Cetera's suave voice and avoids being overly formulaic via the airy instrumental segment that features the swooping soprano sax of Walter Parazaider.
After the previous LP only produced one big hit it was a relief to the suits at Columbia to see it rise to 4, further reinforcing the commercial continuity they'd been praying the band would develop.
Lamm's rowdy "Darlin' Dear" owns a funky attitude that's extremely welcome at this juncture and guitarist Terry Kath's rude bottleneck slide keeps things from becoming too slick and polished.
Terry's weak "Jenny" doesn't work as well, though. The song's too-busy rhythm track detracts from the groove this ballad desperately needed to even have a chance of being memorable. James' "What's This World Comin' To" sports another funkified feel that revives the sagging momentum in the nick of time.
The punchy horn section asserts their strong will often and the whole ensemble displays a lot of cooperative enthusiasm throughout the number. It must've been a good day in the Rockies. Robert's "Something in This City Changes People" is next, a slower-paced tune that highlights their superb harmonizing abilities. The subtle congas, Cetera's expressive bass runs and Walter's delicate flute reaffirm that their persistent leanings toward the jazz realm haven't abated.
The burg in question is L. Peter was a gifted singer but his songwriting skills sometimes left a lot to be desired as "In Terms of Two" clearly confirms. They and many other bands liked to venture into the iffy world of country rock in those days and this is one of those ill-advised experiments that straddles a spiked fence, failing to please anyone.
Poco they were not and should've known better. Da funk monster returns on "Rediscovery" to stop the bleeding and to instantly restore respectability. Kath's wah-wah happy guitar ride is playfully sneaky but Robert's Rhodes piano playing is disappointingly tepid when it should've been exciting.
Pankow and Cetera's "Feelin' Stronger Every Day" is the closer, a well-constructed song that emphasizes everything the group intended to be known for. An uplifting theme, unforgettable melody line, unorthodox changes in attack and mood as well as their signature boisterous, dynamic horns are all to be found in this tune.
No wonder it was a top ten single and is a staple of classic rock radio to this day. Chicago could accept being either loved or hated but not being ignored. While I don't consider this to be as sub-par as some seem to think, I do consider it as being only slightly above their average due mainly to the inconsistency in the material. I still rank it a lot higher than much of the questionable schlock they would put out later on and find that, as a whole, Chicago VI continues to make for an enjoyable listen.
It occupied the 1 position on the album charts for five weeks so obviously it wasn't a flop and only served to further solidify their status as one of the dominant acts of the wild and wooly 70s decade.
A massive withdrawal from epic albums to short commercial more melody-driven songwriting. The first song is quite good despite simplified composition. Just you'n'me is a disaster for most die-hard Chicago fans, so straightforward and limited with brass section - a shame for which was one Chicago VI marks a departure for Chicago, as the jazz fusion and progressive stylings that the group had pursued previously were scraped for a sound with a more funky delivery, one that took its influence from Little Feat rather than Miles Davis.
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